Philosophical movie, staged at the least philosophical environment imaginable: A closed scenery of a nudist spot, where some hired Czech stuff is making a plain erotic movie for a rich Russian producer. Nothing in this movie is what it seems to be at the first superficial glance.

The soil is the work-place of farmers and gardeners, but it is also an environment inhabited by insects that can leap into the air to a record height, multilegged scavengers that are vital to the decomposition of matter and the long, thin, entwining strands of thousands of species of fungi.

Well off Andrzej and Krystyna's marriage is at a stage where familiarity breeds contempt, that contempt which is outwardly shown only behind closed doors and only when an incident of some sort sets off one or the other. While driving through the countryside on a Sunday on their way to the lake to embark on an overnight sailing excursion, they almost run over a young male hitchhiker. Despite the antagonism between Andrzej and the hitchhiker, Andrzej offers him a ride as far as the marina.

This movie involves many hidden layers. It is basically a philosophical movie, staged at the least philosophical environment imaginable: A closed scenery of a nudist spot, where some hired Czech stuff is making a plain erotic movie for a rich Russian producer. Nothing in this movie is what it seems to be at the first superficial glance. The story is just a patsy. Naked relationships and sampled philosophies of all those people are symbolized by all those naked people themselves. It is rather a movie how to make some sense out of a nonsense. About boundaries, differences and similarities between reality and staged pseudo-reality. Everything culminates in last climactic scenes, when neither directors nor actors and viewers are sure if the death is real or just a part of the movie plot. A key to the whole story is perhaps in its very last sentence: "When I imagine that this Earth is flying in the Universe … those people are perhaps not even realizing that…"

The uncompromising director Věra Chytilová, well-known for her harshly mocking attacks on people''s failings and foibles, has created a new filmic parable on human weakness with Vyhnání z ráje (Expulsion from Paradise, 2001), her most recent film. Although fully within the Chytilová tradition of biting moral fable, the film has had a lukewarm reception from Czech and international critics.